New Upcoming Artists: the reformed Live at Leeds in the City

Written by Richard O'Brien
Edited by Eve Moat

Up and coming, varied, independent – all words that could describe Leeds as a city and it’s most
authentic music festival Live At Leeds in the City. While Leeds Fest may grab all the headlines, it’s
Live at Leeds which truly represents Leeds musically.

Held annually in October, the festival run by Futuresound and Leeds City Council is played across
venues in the city center and surrounding areas. The aim – prompting new, largely undiscovered,
and emerging musicians.

Like a pick and mix, as you dive your hand in and scoop out an assortment, some you will like and
want more of. Others, you might put back in the box. Similarly, a dive into the previous acts who
have performed at the festival will bring up some acts that have aged well and others verging on
cringe-inducing. Mumford and Sons, Bombay Bicycle Club, Ed Sheeran, James Blake, Jake Bugg, Alt-J,
Catfish and the Bottlemen, Royal Blood, Circa Waves, The Academic, George Ezra, Clean Bandit. The
list goes on. I will let you decide which side of the aged well to cringe-inducing kaleidoscope the
previously named acts end up on. Undeniably, however, the festival attracts global artists when their
resale tickets are closer to £5 than £500.

This year’s iteration of the festival, like previous years, will take place at the city’s most iconic
venues. Expect more niche bands to be playing at Brudenell Social Club and The Wardrobe. Whereas
the headline acts will inevitably perform at the bigger venues including O2 and Leeds Beckett’s
Student Union. For those unfamiliar with Leeds, Live at Leeds in undeniably one of the best ways to
explore the city’s music scene and venues.

While seeing one or two of the headline acts and a couple of medium-sized acts might justify the
admission fee of around £45 (after the “administrative fees” are added on), the joy of the festival is
discovering those unheard-of acts. Hanging around for the next act because you have an hour free.
Getting to a venue early to ensure you have a front-row spot for the following act. Or, for some,
staying at one venue throughout the day with the only excursion into the sunlight being to grab a
bite to eat. Almost by design, the festival ensures you see artists you otherwise wouldn’t.

Another consequence of the design of the festival, which I am still undecided if it is intentional or
accidental, is that it answers the critiques of summer music festivals. No more wardrobe nightmares
due to unexpected weather, leaving you in the cold to think about your mistakes. Rather than
vendors capitalising on a captive audience to hike prices, a quick Tesco meal deal (other
supermarkets are available) while journeying between venues buffers the assault on the bank
account. Yes, it does have it’s downsides, namely a longer journey time between venues, but the
format certainly alleviates some turn-offs for those less keen on summer festivals.

Despite my disappointment at The Mysterines seemingly removed from all mentions of this
upcoming lineup since the initial reveal, the overall picture of artists still looks exciting.
Wunderhorse, Cassia, and Corella appeal to my admittedly basic, indie pop/rock music tastes. But
with nearly 125 acts confirmed so far, there will undoubtedly be something to appeal to those with
more niche music tastes.

While Leeds Fest or headline acts grab headlines and attention, just like the city itself, supporting
smaller acts and venues is the purpose of Live At Leeds In The City. Like a music-themed open-top
tourist bus, the festival allows you to tour the city’s best venues and some of the latest emerging
talent. And as with Ed Sheeran, you can say I saw them before they were cool (or uncool).

Live at Leeds In The City takes place on Saturday 14th October with tickets still available online
from Live At Leeds’ official website for £42 plus booking fees.

Local Artist Shaene plays Hyde Park Book Club

Written by Emie Grimwood
Edited by Eve Moat

On the 9th September, I had the pleasure of watching Leeds based, emo/lo-fi
project Shaene at Hyde Park Book Club. Following the release of her debut
album time lost/time regained, Shaene took to the stage and graced
audiences with a fresh sound, one previously unheard in the Leeds scene. The
album is an exploration of how childhood experiences have long lasting effects
on her current relationships, featuring themes of mental health, familial
alienation, and the trans experience.


The performance itself translated the message of the album. From set design,
to lighting and delivery of the songs. The blue lighting felt synonymous with
the album and Shaene and using the balloon display, typically associated with
birthday parties and celebration, felt like an ode to a loss of innocence. The
tainting of something so fragile due to traumatic experiences. The display
partnered with the music demonstrated how despite all, Shaene was taking
something back, regaining control and re-imagining experiences for what they
should be.

Image Credit: @musicthroughemiescamera on Instagram


The set was magical. The way the band took stripped back songs and elevated
them to a point that had the entire room captivated. The album time
lost/time regained
was entirely self-recorded and self-produced, which
makes it more impressive. She displays an incredible ability to create beautiful
music, and on a technical level, can produce it too.

Artists such as Shaene are rare. It is no wonder that she is making a name for herself, being recognised by
names such as BBC Introducing, Yellow Button, Get in Her Ears and Wax Music. Shaene is such a unique voice, one I look forward to hearing more of and I’m excited to see what she does going forward.

Track List time lost/time regained:
1. june
2. bleach
3. sad
4. fair
5. dumb
6. snot
7. maybe

AM I going to Snap Out of It?: 10 Years of the Arctic Monkeys record

Written by Jacob Payling
Edited by Eve Moat

When Arctic Monkeys released Tranquility Base Hotel & Casino (2018), like many other
fans of the Indie-Rock genre, I slowly began to fall out of love with Sheffield’s favourite
foursome. I still have vivid memories of going to see that eponymous 2018 tour: me, a casual Monkeys
listener at my first show, desperate to hear the rowdy and up-tempo classic The View From
The Afternoon
(2006) and instead being treated to nearly an hour of dreary, dragging ballads
performed rather wearily by Turner. Besides the standout track Four Out Of Five, the first
half of the night was slightly disappointing, and it was only later into the night when guitarist Jamie
Cook sounded the fuzzy riff of R U Mine? that the show began to take off. The
mass of sweaty teens crowded the pit, breaking off into mosh-pits as drummer Matt
Helders made the staccato snare reverberate around the arena. It was almost as if the sound team had turned up the band’s entire mix. My friends and I left the show with Why’d You Only Call Me When You’re High? stuck in our heads, with us humming it to our hearts content.


Five years on since that show and a decade since the album’s release, it is plain to see why
AM (2013) is still the band’s most commercially successful album. While on Tranquility Base Hotel and Casino (2018) and The Car (2022), Turner’s lyrics are sometimes tediously introspective, whereas on AM (2013) he is brilliantly to the point, commanding his lover to Snap Out of It, asking R U Mine? and later Why’d You Only Call Me When You’re High? is questioned. Indeed, AM follows the blueprint for a successful record through Turner’s universal and digestible lyrics. Each song’s subject matter is never far from home and frequently touches on themes of failed romances and drunken promises. For example, the track I Wanna Be Yours (written by John Cooper Clarke, sang by Alex Turner) perfectly balances the recognisable theme of unrequited love with personal, specific imagery. My favourite instances of this are where Turner asks to be his lover’s ‘vacuum cleaner, breathing in [their] dust‘ and later to be their ‘setting lotion, and hold [their] hair in deep devotion’.


Alongside its lyrical pedigree, AM’s status as the band’s most popular record – three of its
tracks boast over 1 billion streams – is reinforced by its sonic power. Recorded in Los
Angeles with producer James Ford, the album’s tone is markedly different from any previous
release. Most notably the Arctic Monkeys cast off their usual listening habits of British rock and instead take inspiration from the US hip hop scene. Unlike 2011 release Suck It and See where the band used mostly live takes, sounding, as Turner puts it, like “four lads in a room”, AM is masterclass in overdubbing, layering and aural experimentation. Besides the dreamy, almost Beatles-inspired Mad Sounds, a personal favourite of mine, and No. 1 Party Anthem which is reminiscent of Turner’s solo work on Submarine (2011), AM (2013) takes inspiration from bands such as Black Sabbath and Queens of the Stone Age. Indeed, Josh Homme of the latter group does actually provide background vocals on two of AM’s tracks though.


It’s frankly scary to think that AM (2013) turns ten years old this month. For myself and my
friends, tracks like Arabella and Do I Wanna Know? were the soundtrack to our teenage
years, our introduction to the rock genre, and the songs we would slap on just before a night out.
Moreover, Snap Out of It was the first song we covered and performed live in my band,
kidding ourselves that we had the swagger of Alex Turner. A decade on from its release, AM
has undeniably stood the test of time. When I walk into my local HMV, the white waveform
still stands boldly against the black background. In Indie bars across the country R U Mine?
is always a crowd favourite and I even occasionally hear Why’d You Only Call Me… at my
gym. AM is undoubtedly a seminal record in the rock world and is now, more than ever,
worth a listen.

Re-branded rock duo Soft Play find witty resurgence in new single ‘Punk’s Dead’

“Punk’s dead, pushing up daisies, Come and get a load of these PC babies!”

Written by Evelyn Wallace
Edited by Eve Moat

Rock Duo, ‘Soft Play’ hailing from Kent, includes frontman Isaac Holman and drummer
Laurie Vincent, who recently cleared up the negative baggage deriving from their
previous band name ‘Slaves’. Negative discourse began in 2015 when a critique was
published in The Fader with an article titled, “Why Would a Band of White Dudes Name
Themselves Slaves?”.


Soft Play announced their name change on Instagram in December 2022. They
explained the name ‘Slaves’ “was intended solely as a reference to the grind of day to
day life” but “as younger men, [we] responded to criticism of the name from a place of
fear and defensiveness” and that the “intent doesn’t change the fact that the name
Slaves is an issue”.

In late August, the duo released their latest single ‘Punk’s Dead’, a brilliant way to
confront the surge of criticism by sarcastically vocalising the ridiculous reaction to their
name change. Isaac explains, during their Reading and Leeds interview with Rock
Sound, how ‘Punk’s Dead’ was literally “written off Instagram comments” from people
who were “annoyed at us”. Laurie added that this comeback had resulted in the “most
radio play we’ve ever got”, confirming confidence in their decision to turn exaggerated
criticism into a tongue-in-cheek, riff-heavy Punk song.


For many fans ‘Punk’s Dead’ has reaffirmed their faith in the band.
Soft Play told Rolling Stone that ‘Punk’s Dead’ addresses “the haters head on”,
demonstrated in their airy lyrical attitude. The verses are filled with whiny demands,
allowing the listener to mock these childish claims such as, “I don’t like change” and
“Why can’t you just stay the same”, followed up by the chorus, “Punk’s Dead, pushing
up daisies, come and get a load of these PC babies”, pointing to the discomfort and
dislike of political correctness in the Punk sphere. The particular lyric, “Are there any
real men left in Britain, I’m starting to think that there isn’t”, addresses the toxic belief
made that to be ‘Punk’ you have to be masculine and hard, whilst left notions are
considered weak and soft.


The music industry, particularly in the area of Punk Rock music, has seen an increase
in bands referring to left-leaning discourse being confused with weakness. The
‘snowflake’ rhetoric; featured in ‘Punk’s Dead’, is also referred to by rock band IDLES,
highlighted in their lyric, “this snowflakes an avalanche”, noting to not underestimate the
power of the collective, and so-called ‘snowflakes’, whilst they label their music as being
“hard music for soft people”, provoking the idea that modern Punk is inevitably being
reshaped by the unavoidable progression of society. This idea of being ‘soft’ is
comically put to life in the newly released music video for Punk’s Dead, with Isaac and
Laurie getting pushed around by little kids on a bouncy castle, finishing with Robbie
Williams pictured in the sky singing the bridge which messes with idioms, “snowflake,
snowflake, cherries on the woke cake”. This jabs at the ridiculous response Soft Play
received after responding to political correctness.


The song’s lyric, “thought you were rowdy thought you were Punks”, links to the
expected idea of Punk rockers having to be ‘anti-establishment’, ‘hard’ and breaking the
status quo. The comeback of Punk’s Dead is unapologetic and Punk in its very nature
by biting back at convention. Many fans commented on how conforming to societal pressure and political correctness is pathetic and ‘unpunk’, but Punk Rock by its very nature, simply rejects bigotry, thus this is on brand for the band and is a fantastic demonstration of how to be sensitive but also unapologetic. Perhaps it could be conceived that the outrage seen is now not very Punk, and instead being altruistic is the new ‘Punk’.


Soft Play’s name change and new single has highlighted the noticeable discomfort
surrounding political correctness within the music industry, specifically within sub-genres, and perhaps comments on how the cultural left is redefining Punk music and putting progression into the spotlight. Laurie noted on Instagram, “In this day and age we believe it is very important that people change and
make improvements no matter how far down the line they are”. Punk’s Dead is a beautiful, nonchalant piece which creates mockery out of what is expected of Punk artists and abandons old rules to progress in line with modern society.


Soft Play has truly proven you can break down stereotypes and create contrast between harsh and so-called soft music.

GIG REVIEW: Holly Humberstone LIVE at The Wardrobe

Written by Emie Grimwood
Edited by Eve Moat
Photography by Emie Grimwood

If you have not heard the name yet, then I am certain that you will have done by the end of
the year. Celebrating the release of her debut album, Paint My Bedroom Black (out on 13th October), 23-year-old, rising sensation Holly Humberstone announced a run of intimate
live shows in partnership with independent record stores across the UK. I had the pleasure
of being invited to her second show on this mini tour at The Wardrobe on the 2nd October
brought to audiences by Crash Records.


I wanted to mention how wonderful the organisers and event staff were, from both The
Wardrobe and Crash. From arrival, everyone was incredibly friendly, talkative and the team
from Crash came out and greeted people waiting in line and sparked up conversation,
despite the miserable weather. From the beginning, spirits were high, and fans were excited
to see Holly.


It was my first time at the venue, and I fell in love. Walking into the bar area, I was surprised
at how warm and inviting it felt. The essence of the events space was carried through. It is
no surprise that Holly looked and felt at home on the stage of The Wardrobe. Despite selling
out La Fonda in LA, and amassing huge crowds at Lollapalooza, Reading and Leeds Festival
and Summersonic in Japan, her ability to captivate audiences in intimate venues is one that
not every artist can achieve.

Credit: @musicthroughemiescamera on Instagram

She arrived on stage around 40 minutes after doors, fans were cheering and smiling. The set was minimal: just keys and guitar. That is all that was needed. Part of the reason this show worked so well is due to her ability to translate her experiences so viscerally. Her raw emotion came through so strongly for me during Kissing in Swimming Pools. I felt like I got a glimpse into the complex relationship she was describing, a familiar feeling for her fans, I am sure.


Holly Humberstone is not afraid to expose her emotion, pain, or wrongdoings and that is
what makes her feel so real and refreshing. Antichrist, one of the singles released from the
album, is the perfect example of this, with lyricism stating that she ‘gave bad love’ and ‘you
should run for your life’ she conveys that human nature is to be imperfect. The blame is not
always with another but sometimes with us. I think for an array of young people out there,
this message is crucial. Holly is leaving no stone unturned and ensuring everyone feels
validated.


These themes and ideas were delivered without flaws during her set, a beautiful mix of new
music and old, fans were captivated by her presence, and I personally had a wonderful time. Prior to
the show, I had only listened to a few of Holly’s songs. Following the show, I know I will be
making a trip to Crash in Leeds city centre to pick up the new album on release, and I highly
recommend you do the same!

Credit: @musicthroughemiescamera on Instagram
PAINT MY BEDROOM BLACK (2023) TRACKLISTING
1. Paint My Bedroom Black
2. Into Your Room
3. Cocoon
4. Kissing In Swimming Pools
5. Ghost Me
6. Superbloodmoon (featuring d4vd)
7. Antichrist
8. Lauren
9. Baby Blues
10. Flatlining
11. Elvis Impersonators
12. Girl
13. Room Service

Pre-order is available from Crash Records now: https://www.crashrecords.co.uk/products/holly-humberstone-paint-my-bedroom-black-pre-order

ALBUM REVIEW: Slowdive – everything is alive 

Written by Isabel Kilevold
Edited by Eve Moat

Slowdive’s fifth album proves once again why the band is considered one of the most prominent contributions to the shoegaze genre even over three decades after their first release. With everything is alive (2023), Slowdive manifest their ability to experiment and adapt, while sustaining their nostalgic expression.    

Six years have passed since the band returned with their self-titled album Slowdive (2017) after their two decade-long break. However, their most recent record does not show signs of age – everything is alive (2023) combines dreamy keyboard, washed out guitar and indistinguishable vocals, creating an essence of youth. 

The opening track, ‘shanty’, invites the listener into the dreamlike state that defines the album. The song is driven by a synth creating gentle melodies accompanied by dynamic guitar riffs. The vocals are washed out, yet the lyrics of the repeated verse beam through the transcendent instrumentals. “I was a junkman / A candle burning / Settled over / When the night rolled in,” sung by Neil Halstead and Rachel Goswell, who initially formed the band in 1989, and serenade the listeners with their whisper. Following ‘shanty’ is the instrumental track ‘prayer remembered’. A four-minute-long song without a hook feels rare in the world of radio hits, though the instrumentals beautifully carry themselves and the absence of lyrics creates a moment of peace rather than yearning. 

‘alife’ is one of the more upbeat songs of the album, though behind the atmospheric keyboard and guitar played in arpeggio, Goswell’s voice haunts us as it carries the lyrics “Two lives are hard lives with you”. In contrast to the pop feeling of ‘alife’, ‘andalucia plays’ is stripped down. For the first time on the album, the vocals are the most prominent element of the track. Halstead’s voice is clear and the instrumental does the job of creating the hazy atmosphere that characterises Slowdive’s sound.

The lead single of the album, ‘kisses’, is the closest you will get to a radio hit on the record. The upbeat melody and distinctive hook makes the song a contribution to the shoegaze discography that is palpable for the masses. 

The second single of the album, ‘skin in the game’, immediately follows and is similar to ‘kisses’ a song that ticks all the boxes for a dream pop classic. ‘chained to a cloud’ is one of the most interesting songs on the album. The keyboard loop and echoing vocals creates a dreamy ambiance while proving that Slowdive is not afraid of experimenting with their sound. ‘the slab’ is granted the honor of concluding the album, and does so with dignity. The quicker paced, instrumental driven track is one of the highlights of the album with its indistinguishable vocals and hazy, almost heavy, feeling.   

The mainstream pop listener might remain searching for a hook after the first listen, and there is no distinguished hit on the eight track album. However, for the shoegaze enthusiasts the record is a gift that keeps giving, revealing new layers with every listen. With everything is alive(2023) Slowdive has kept the magic of 90s dream pop alive in a wrapping that keeps the modern consumer engaged. Although Slowdive might not broaden their audience with everything is alive (2023), the album is a love letter to the genre lovers. 

Leeds Festival: a changing identity

Written by Will Cooper
Edited by Eve Moat
Photography by Emie Grimwood

Leeds Fest is unique. The Yorkshire-half of the twinned event is one of the biggest music festivals in
the UK, regularly bringing in nearly 100,000 attendees across the August Bank Holiday Weekend. It
has become an infamous rite of passage for UK festivalgoers; anyone who has been before will be
familiar with the chaotic events of Sunday night, where bonfires and Purge-esque carnage has
become a regular feature of the festival. Since its inaugural event in 1999, Leeds Fest has built up a
formidable reputation across the European festival scene. However, since the cancellation of the
festival in 2020, its distinctive character has started to lose its edge.


Across the last 24 years, a mix of huge exclusive headliners and the best up-and-coming
underground talent ensured that Leeds Fest was the place to be for rock fans. Iconic sets from the
likes of Green Day and Foo Fighters not only set exceptionally high standards for future lineups, but
also drew in a core rock-focused fan-base for the festival. Recent lineups, however, have drifted away
from the heavier bands that you would once expect to see on stage at Bramham Park, instead
concentrating on more mainstream artists. Take this year’s headliners, for example – American pop
sensations Billie Eilish and Imagine Dragons epitomise the change in direction the festival has taken
in the last few years.


These changes been exemplified by the new format of the last three iterations of the festival, where
six headliners were spread across two main stages. While great in theory, it simply results in the
booking budget being spread more thinly – such dilution of headline talent won’t necessarily
produce a more exciting lineup. Would you rather form a lineup around six great headliners, or three
outstanding big-name headline acts?


This shift towards a broad church approach has, as you would expect, left some fans longing for a
more “traditional” Leeds lineup. A quick look in the replies to any tweet from the official R&L Festival
Twitter account will reveal cries for the return of bands like Rage Against the Machine and Red Hot
Chilli Peppers. Moving away from the traditional rock-focused lineups of the 2000s and early 2010s,
in favour of a wider range of musical genres, has seen a loss of the festival’s traditional identity. This
transformation was perhaps inevitable, given that rock music is just not as popular among young
people as it once was.


Such a change is not inherently negative, despite what a vocal minority may try to tell you on
Twitter. Mainstream artists are mainstream for a reason – they’re popular! Some of the biggest
names in pop music, like Billie Eilish, have been attracted to the festival in the last couple of years;
Leeds Fest has clearly maintained its status to some degree. Since 2020, the festival organisers have
a lot to be proud of, namely the ever-increasing gender diversity of their lineups, and successfully
navigating new challenges posed by COVID-19 and Brexit.


Nevertheless, the festival remains in a tricky spot. The last three lineups have lacked coherence – it
is difficult to effectively bring together such a broad range of music. By trying to appeal to
everyone’s taste, they risk pleasing nobody. Simultaneously satisfying fans of rock, pop, grime,
house, metal, and drum and bass is impossible. Festival goers are beginning to vote with their feet –
this year’s event was the first not to sell out in recent memory.


Without a clear target audience, Leeds Festival is at risk of getting left behind if their scattered
approach continues to deliver weak lineups. Alternative festivals are growing in size and stature, and
can offer more focused and consistent lineups. If you’re into heavy rock music, why would you go to
Leeds instead of Download Festival? If you want “proper” dance music, Creamfields or Boomtown is a
more appealing proposition. To remain one of the key institutions of the UK music scene, Leeds Fest needs to create its own distinct identity once again. This is not to say the festival needs to revert to
what it once was; rather, the organisers need to commit to a clear direction for Leeds Festival to take in
the future.

Credit: @musicthroughemiescamera on Instagram